Investigation of formal aesthetic elements in living spaces

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Investigation of Formal Aesthetic Elements in Living

Spaces

Saya Kaynama

Submitted to the

Institute of Graduate Studies and Research

in partial fulfillment of the requirements for the Degree of

Master of Science

in

Interior Architecture

Eastern Mediterranean University

June 2014

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Approval of the Institute of Graduate Studies and Research

Prof. Dr. Elvan Yılmaz Director

I certify that this thesis satisfies the requirements as a thesis for the degree of Master of Science in Interior Architecture.

Prof. Dr. Uğur U. Dağlı Chair, Department of Architecture

We certify that we have read this thesis and that in our opinion it is fully adequate in scope and quality as a thesis for the degree of Master of Science in Interior Architecture.

Prof. Dr. Kutsal Öztürk Supervisor

Examining Committee 1. Prof. Dr. Kutsal Öztürk

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ABSTRACT

Aesthetic is a natural factor, which is directly related to the emotions of human beings. Aesthetic can be a bridge between observation and emotions. It can easily effect the perception and cognition of users. Aesthetic have different elements which come together to create the sense of satisfaction for the viewers. The main elements of formal aesthetics are Form, Color, Texture, Lighting and Shadow. These elements can come together to create the sense of beauty but the way of using them are significant to achieve the correct solution.

One of the purposes of design philosophy is to increase the quality of experience of human beings to know the aesthetic. By utilizing the main elements of formal aesthetics, this purpose can be reach at the end of the design process.

In interior architectural spaces formal aesthetic elements can play an important role to give the sense of satisfaction and preference for users. The main elements are examined and emphasized in this study.

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observation to reach the conclusion of this study. Also, this study is going to be limited to the main elements of formal aesthetic which are color, form, texture, light and shadow. Other limitations of this study is the five different parts of Famagusta which are Walled city, Dumlupınar, Sosyal Konutlar, Gülseren and Tuzla.

In the first chapter of this study, the main problem of study mentioned is the lack of formal aesthetic elements in some design processes, which can affect the atmosphere in the interior spaces. The aim of the study is also covered in the first chapter, which is to discover the effects of formal aesthetic in living space organizations in the houses of Famagusta by considering the values of Formal Aesthetics. The main question of this study is: How formal aesthetic elements affect the living space of houses in the examples of Famagusta. Also limitations and research objectives took place in the first chapter, which is going to be explained further.

In the second chapter, general information about architectural space and interior space is considered in terms of open, close and functional spaces. At the same time, Perception, interior spaces and space organization, emphasized in second chapter. In third chapter general information about aesthetic and elements of formal aesthetics are emphasized. Also the usage of these elements in interior spaces is researched in this chapter.

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1. Space Syntax: to find the location of living space in academic way of study. Also the connection of living room with the other functions examined in this method.

2. Semantic Rating Scale: which helped the study to find the LIKE and DISLIKE ideas of the users.

3. According to the results of the semantic rating scale, classification method was used to find the most and the least impressive elements of formal aesthetic

4. The last method of this study is observation in order to examine all the results. For supporting the observation method that is completed by the author, semantic differential is used by giving different adjectives to the formal aesthetic elements.

At the end of these investigations, this study reaches the answers of does people like these living spaces? If yes, what is their first preference? And finally, the study, focused on observation to support the results of previous methods to find the most impressive elements of formal aesthetic in selected living spaces.

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these elements in living spaces shortly followed by Gülseren, then Dumlupınar, Sosyal konutlar and the last one was Walled City.

Keywords: Living Space, Formal Aesthetic (Form, Color, texture, lighting and

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ÖZ

Estetik insanların duygularına doğrudan bağlı, doğal bir faktördür. Estetik, gözlem ve duygu arasında bir köprüdür, kullanıcıların algı ve düşüncelerini kolayca etkileyebilir. Estetik, izleyicilerde tatmin duygularını yaratmak için farklı ögeleri bir araya getirir. Biçimsel estetiğin temel ögeleri biçim, renk, doku, ışık ve gölgedir. Bu ögeler güzellik kavramını kişinin beyninde oluşturmak için bir araya gelebilir ancak ögelerin kullanılış şekli genel algıyı doğrudan etkileyebilir.

Tasarım felsefesinin amaçlarından birisi insanlardaki estetik algısı ve tecrübesinin niteliğini geliştirmektir. Biçimsel estetiğin temel ögelerin dengeli kullanılması ile bu amaca ulaşılabilir.

İç mekân mimarisinde biçimsel estetik kişilerde tatmin duygusu yaratma ve tercih edilebilirlik konusunda çok önemli roller oynayabilir. Bu çalışmada temel ögeler incelenmiş ve vurgulanmıştır.

Bu çalışmanın sorunu, biçimsel estetik ögelerinin, Gazimağusa’nın iki katlı evlerinde açık bir şekilde görülememesidir. Çoğu evde bu ögeler kullanıcıların ihtiyaçlarına göre organize edilmemiştir. Çalışmanın amacı Gazimağusa’da biçimsel estetiğin değerleri göz önünde bulundurularak, konut mekânlarının tasarımlarında biçimsel estetiğin etkilerini incelemektir.

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teknikleri, anlamsal değerlendirme ölçekleri ve gözlem gibi farklı yöntemler kullanılmıştır. Ayrıca, bu çalışma biçimsel estetiğim temel ögeleri olan renk, biçim, doku, ışık ve gölge ile sınırlandırılmıştır. Çalışmanın diğer sınırlandırması ise Gazimağusa’da Kaleiçi, Dumlupınar, Sosyal Konutlar, Gülseren ve Tuzla olarak toplamda 5 bölgeyi ele almasıdır.

Çalışmanın birinci bölümü, bahsedilen çalışmanın ana probleminin, biçimsel estetik ögelerin bazı tasarımlarda eksik oluşu ve bu eksikliğin iç mekânlardaki atmosferi etkileyebilir olmasıdır. Çalışmanın amaçlarından biri de Gazimağusa’da biçimsel estetiğin değerleri göz önünde bulundurularak, konut mekânlarının tasarımlarında biçimsel estetiğin etkilerini incelemektir. Çalışmanın ana sorusu; Biçimsel estetik ögeleri Gazimağusa’daki örneklem evlerinde yaşam alanlarını nasıl etkilemektedir. Çalışma sınırlamaları Gazimağusa Kaleiçi, Dumlupınar, Gülseren, Sosyal Konutlar ve Tuzla mahallesinden pilot çalışma için seçilen 20 dublex evin yaşama mekânlarıdır.

İkinci bölüm, mimari mekân ve iç mekânlardaki açık, kapalı ve işlevsel mekânlar hakkında genel bilgi içermektedir. Aynı zamanda, algı, iç mekân ve mekân düzenlemesi ele alınmıştır. Üçüncü bölümde, biçimsel estetik ögeleri ve estetik hakkında genel bilgiler ele alınmıştır. Ayrıca bu biçimsel estetik ögelerinin iç mekânlarda kullanılışı etkileri incelenmiştir.

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göre incelenmiştir. Çalışma sırasında kullanılan ölçme yöntem ve teknikleri aşağıda sıralanmıştır.

1. Mekân Dizimi: Yaşam alanının akademik bağlamda çalışılması için Mekân Dizimi kullanılmıştır. Ayrıca oturma odasının diğer işlevler ile bağlantısı da bu teknik altında incelenmiştir.

2. Anlamsal Değerlendirme Ölçeği: Anlamsal değer farkı kullanıcıların beğendikleri ve beğenmedikleri fikirleri çalışmada belirtmek için kullanılmıştır.

3. Anlamsal Değerlendirme Ölçeği sonuçlarına göre, sınıflandırma yöntemi kullanılmış ve bu yöntem sonucunda biçimsel estetiğin en az ve en çok sevilen ögelerinin bulunması amaçlanmıştır.

4. Son olarak gözlem yöntemi tüm sonuçları incelemek için kullanılmıştır. Yazar tarafından, gözlem yöntemini desteklemek için biçimsel değer ögelerine sıfatlar verilerek kullanılmıştır.

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Çalışmanın sonucunda kullanıcılardan elde edilen verilere göre, en çok tercih edilen ögeler sırayla renk, biçim, doku, ışık ve gölgedir. Ayrıca seçilen bölgelerdeki evlerde, biçimsel estetik ögelerinin en çok kullanılışı bölgeler bağlamında sırayla Tuzla, Gülseren, Dumlupınar, Sosyal Konutlar ve Kaleiçi olmuştur.

Anahtar Kelimeler: Yaşam Mekânı, Biçimsel Estetistik (Biçim, Renk, Doku,

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DEDICATION

To my beloved parents,

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ACKNOWLEDGEMENT

I would like to express my special gratitude to my advisor Professor Dr. Kutsal Öztürk, you have been a wonderful mentor for me and thank you for the continuous support on this thesis. Your advices have been priceless, your comments and suggestions have been always brilliant.

I would never have been able to finish this study without the guidance of my department members that includes: Professor Dr. Şebnem Hoşkara, dean of the department, Professor Dr. Uğur U. Dağlı, the department head and Assistant Professor Dr. Kağan Günce, thank you all for believing in me, for all your encouragements and for allowing me to grow as a confident interior architect.

A special thanks to my family. Words cannot express how grateful I am to my beloved mother, Shahnaz N. Golzari, and my father, Ahmad R. Kaynama, for all of the sacrifices they have made on my behalf. You were always my support in the moments when there was no one to answer my queries. Your prayer & unconditional love for me were what sustained me thus far.

My thanks go to my sister, Solmaz Kaynama, for sharing her academic experiences with me and setting examples for great achievements.

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LIST OF TABLES

Table 1. Types of Clustered Organization (Goerge, 1999) ... 53

Table 2. Different Kinds of Forms in Interior Space ... 72

Table 3. Classification of the characteristics of textures (Szczesniak, 2001) ... 76

Table 4. Examples of different textures (Groissboeck &Lughofer &Thumfart, 2010) ... 77

Table 5. Light and Shadow and proper lighting (Michel, 1996) ... 79

Table 6. Usage of Aesthetic Elements in Interior Spaces ... 85

Table 7. Selected cases in five parts of Famagusta ... 91

Table 8. Usage of space syntax of the selected villas in walled city ... 96

Table 9. Usage of space syntax of the selected villas in Dumlupınar ... 98

Table 10. Usage of space syntax of the selected villas in Gülseren ... 100

Table 11. Usage of space syntax of the selected villas in Sosyal Konutlar ... 102

Table 12. Usage of space syntax of the selected villas in Tuzla ... 104

Table 13. Main connection of the living room with the other interior spaces in selected cases ... 106

Table 14. Example of questionnaire forms, which where given to users ... 108

Table 15. Procedure of the Usage Preferences of Formal Aesthetic Elements in all ... 121

Table 16. Observation method which used in selected villas of walled city ... 123

Table 17. Observation method which used in selected villas of Dumlupınar ... 124

Table 18. Observation method which used in selected villas of Gülseren... 125

Table 19. Observation method which used in selected villas of Sosyal Konutlar ... 126

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LIST OF FIGURES

Figure 1. Space Syntax (URL2) ... 10

Figure 2. Cyprus Map (Boğac, 2009) ... 12

Figure 3. Locations of case study in North Cyprus (Boğac, 2009) ... 13

Figure 4. Kinds of Volume in architecture (Ching, 2007) ... 15

Figure 5. Different kinds of forms in architecture (Ching, 2007) ... 16

Figure 6. Dimensions, configurations and openings in architecture (Ching, 2007) .. 18

Figure 7. Open space in architecture (URL4) ... 20

Figure 8. Closed Spaces in architecture (Strand, 1999) ... 20

Figure 9. Dining room (Jefferis & Madsen, 2005)... 25

Figure 10. Living room, Casa Panama, By Sao Paulo, Brazil (Crafti, 2013) ... 26

Figure 11. Living room (Crosbie, 2008) ... 27

Figure 12. Comfortable Living Rooms (Lynch, 2003) ... 27

Figure 13. Windows Assembly designed to maximize the natural lighting ... 28

Figure 14. Conversation area of Living room (Harrison, 1998) ... 33

Figure 15. Interior of the Music School, Location: Stuttgart, Germany (Images ... 34

Figure 17. Teylers Museum Location: Haarlem, Netherlands ... 35

Figure 16. Michael Hue Williams ... 35

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Figure 19. Scale in Architecture Villa Arena Furniture Shopping Mall. Location: Amsterdam, Netherlands. “The atrium shown allows natural light to filter down into

... 40

Figure 20. Application of Golden section (Joseph & Thomas Windmills Ltd) ... 41

Figure 21. Vista in Interior Design. Hampstead House, dining area. Location: London, UK. Dining room in the building is in Hampstead that’s linked to other environments (the adjacent room). Such an arrangement creates the feeling of a ... 42

Figure 22. Movement in interior architecture ... 43

Figure 23. Transition in interior architecture, MBAM (Marble Bar Assets Management) trading floor, view of corridor. Location: London, UK. Transient environment operate on the threshold between spaces. Corridors contain such characteristics and connect different spaces together within an interior. Corridors play a crucial role in the outline of a building even though they may be looked at as ... 44

Figure 24. Space Organization in Living Room. (URL7) ... 48

Figure 25. Centralized Organization (Meiss, 1997) ... 50

Figure 26. Linear Organization (Ching, 2007)... 51

Figure 27. Radial Organization. (URL8) ... 52

Figure 28. Grid Organization (Goerge, 1999) ... 54

Figure 29. An image of constant visual angle (such as an after image) subtends and57 Figure 30. The vanishing points of lines joining any two objects form a horizon ... 57

Figure 31. Color Wheel (Kerrigone, 1992) ... 67

Figure 32. Warm Colors. (URL9) ... 68

Figure 33. Cool Color in Interior (URL6) ... 69

Figure 34. Neutral Color in Interior (URL11) ... 70

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Figure 36. Usage of Texture in interior architecture (URL29) ... 75

Figure 37. Subtle placement of light in composition (Michel, 1996) ... 78

Figure 38. Different kinds of lighting (Mitton & Nystuen, 2007) ... 80

Figure 39. Ambient Lighting (URL30) ... 80

Figure 40. Ambient Lighting. (URL31) ... 81

Figure 41. Task Lighting. (URL32) ... 81

Figure 42. Accent Lighting (URL34) ... 82

Figure 43. Accent Lighting (URL35) ... 82

Figure 44. Average of the user's age in each selected part of Famagusta ... 110

Figure 45. Procedure of Positive answers of each selected parts of Famagusta ... 114

Figure 46. User preferences of Formal Aesthetic Elements in each selected part of ... 120

Figure 47. Usage Preferences of Formal Aesthetic Elements in all selected cases in ... 121

Figure 48. Existence of Formal Aesthetic Elements which achieved from observation ... 128

Figure 49. The percentage of positive and negative existence of formal aesthetic .. 130

Figure 50. Usage of impressive elements of formal aesthetic which achieved from ... 130

Figure 50. Average of the user's age in ... 134

Figure 51. Procedure of positive answers ... 134

Figure 53. User Preferences of Formal Aesthetic Elements in all Selected Cases .. 135

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Chapter 1 INTRODUCTION

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1.1 Space Organization and Aesthetic in Interior Architecture

Space means the emptiness that is covered by forms and walls around it. The subject of space can be observed in the detachment between two things, of a foundational or the insight of what has been shaped between or inside it. In the background of art, the difference of distance or size from one another creates a change or a difference in the arrangement and position. This is clarified in architecture with the detachments of openings from one another and the perception view. Forms demonstrate a lively role in the making of spaces. Space is an important factor in architecture due to the fact that it is the place in which people live and cooperate between one another. This is the place which most problems are faced such as work position, home, balminess, relaxation and comfort. When architects create space, they also create a meaning such as a purpose (Houtum & Kraamsch, 2005).

There are two types of space: Reality Spaces and Visual Spaces.

- Dense Spaces or Reality Spaces are distinct from solid objects, which form the spaces. The uses of such spaces are all formed within 3D forms. The practicality of this space is robust and architecture deals with solid and realism, which corresponds with this type of space (Ching, 2007).

- Visual Spaces are 2D shaped spaces such as printouts and images. This type of space is meant to satisfy the sense of sight for display purposes (Ching, 2007).

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Spaces can be either limited, or unlimited 3D types where all actions happen and all matters are placed (Ilgın, 2008). The definition of spaces comes from the capacity of the surrounding space. A lot of factors such as the sky, flowers, earth and trees contribute to the definition of spaces in terms of beams, planar walls, roofs and walls that are formed according to the geometrical necessities. Other factors such as the point, plane line and volume can define spaces (Çınar, 1994).

Aesthetic

Aesthetic is the extent of a natural condition that is influenced by science and art. It is a direct link between observations and the feelings of human beings. Aesthetics can vary between people according to their point of views and perceptions. This equates to some people having a connection with something while others may not. This means that something hideous may have a deep aesthetical value for many individuals while it has no effect on others (Faravar, 2010).

As Dr. Miller (2001) noted; aesthetic is a part of beauty and art, experiences of aesthetics have risen simultaneously with modern art. It is the aesthetics is the name of the logical study of natural beauty and art. It is a form of philosophy that is relatively new which has surfaced in the early 18th_{century and originated from}

Germany and England (URL1).

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Aesthetic theory

Beauty was an important way for architects to incorporate different ideas into their work. This way, all pieces of architectural work could have an aesthetic value which would define the defiance of art.

Architects such as Le Corbusier and Frank Lloyd Wright were not very fond of “beauty”. Aesthetics and its improvements in the 20th_{century indicate that the}

philosophy of aesthetics was not easily accepted (Faravar, 2010).

Formal Aesthetic

Formal Aesthetics is the pinnacle of aesthetics that can clarify the meaning of it in very simple steps, which are form, color, texture, shadow and light. These are the staples of the most important components in aesthetics, which influences the entire design. Aesthetic value is an emblem of beauty that communicates with the senses and emotions of people. This is a belief, which, simply put, is the meaning of aesthetic. The description of Aesthetic is Formal aesthetic that consists of the basic elements of aesthetic and the forms, which are shadow, light, texture and color (Öztürk, 2012).

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Formal Aesthetics elements are listed below; 1- Form

2- Color

3- Light &Shadow

4- Texture (Capon, 1999).

- FORM represents the 3D view of an object. It consists of both volume and mass,

while shapes contain only mass.

- COLOR is an emotional element that can be identified via the environment. It can

easily have an impact on people’s emotions and senses, which also affects health and behavior.

- LIGHT demonstrates the depth of something and defines the volume of something.

The difference in the light and shadow is how forms are defined. It gives 2d forms a 3d feeling.

- TEXTURE realism to surfaces. On 2D surfaces, feelings are altered according to

the smoothness or the roughness of a surface (Capon, 1999).

1.2 Problem Statement

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country. The space organizations of these houses are completely different when compared to each other. Buildings that were constructed before have cultural values but formal aesthetic value could not affect users in these houses. However, recently constructed houses are completely reversed. Cultural improvements of this country effect the space organization and formal aesthetic value of these houses. People recently tried to use formal aesthetic elements for organizing the spaces. This means that formal aesthetic is going to have a significant impact in today’s housings.

When the cultural improvement of Famagusta is considered, it becomes obvious that the housing organization has been development accordingly, in terms of formal aesthetic.

The problem is the formal aesthetic elements cannot be seen clearly in the houses of Famagusta. These elements are not organized according to the user’s needs in most homes. In some houses, all formal aesthetic elements cannot be clear enough or they are not combining well to each other to create a well design organization.

The importance of the formal aesthetic elements are different from each other and according to these differences, the value of the interiors can be changed. In this study, the importance of the formal aesthetic elements, which can affect the atmosphere of the interior, can be found. The classification of the formal aesthetic elements can help discover the most impressive and affective elements in selected cases.

1.3 Aim of Study

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aesthetics and different usages of the formal aesthetic elements, this study will explore, how formal aesthetic elements affect the living spaces of houses in Famagusta?

By using different methods of research, several factors of formal aesthetic and space organization will be analyzed. By evaluating the results, this study will explore the classification of formal aesthetics on living space organizations in houses of Famagusta that were previously selected.

According to the pilot study, the classifications of the formal aesthetic elements that can be the quantitative part of study are going to be explored. In this part, the most impressive to the least impressive elements are going to be examined with the help of the semantic rating scale. The results are going to be studied deeply by using the ordinal scale, space syntax and observation, which can give the result of the details of formal aesthetic elements.

Users are going to select the most affective elements and the least affective elements and give the answers that can show the classification of these elements. This method can help us find the results to classify the formal aesthetic elements according to their importance and affect. By using some graphs and tables, this analysis can be finalized.

1.4 Research Objectives

How can formal aesthetic be used for living space organization?

What is the role of formal aesthetic elements related to interior designing of living space?

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What are the characteristics and futures of formal aesthetic in living spaces? Which elements of formal aesthetic is much more impressive in living spaces? What is the relation between formal aesthetic and space organization?

1.5 Methodology

The methodology of this study is going to be based on literature surveys, which is a qualitative research that is supported by the case study.

According to the literature survey of this study, some of the duplex houses of Famagusta will be selected to be analyzed in terms of space organization by using space syntax and effective formal aesthetic elements of designing living spaces.

The most rudimentary way to approach spaces are by planning due to the fact that planning helps analyze the space and its requirements such as privacy, routing and the potential use, etc. such an approach is crucial in interior spaces where healthcare buildings, transport hubs, museums and galleries need important elements such as way finding. Space syntax is used by designers to demonstrate the relationship between sales per unit area, traffic flow and crime (Social effects) (Edwards, 2011).

Mostly in traditional and vernacular houses where samples seem different from one and other, syntax analysis can be used to study the patterns created by cultural aspects (Hanson, 1998).

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Space syntax enriches techniques and theories used in the spatial configuration analysis. Prof. Bill Hillier, Prof. Julienne Hanson and their colleagues at Bartlett, University College between the 70’s and the 80’s founded it. It was first founded to assist architects simulate project and designs’ social effects that were created (Hillier, 1999).

Space Syntax provides calculated, evidence-based consulting services in economics, planning, design, transport and property development. Incorporating design decisions, planning and their substantial results would reveal the interaction and the movement of people in urban areas and buildings. Such results demonstrate the way environments and social places are optimized and enhanced (Hillier, 1999).

The purpose of such a method is for designers to create strategies to improve social meaning. To achieve this, the consequences of spatial configurations that show a social cultural meaning and how such arrangements interactions and connections in the environment are demonstrated (Hanson & Hillier, 1987).

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There is a difference in the long model role of space in instances where all is more of less stated and space is used to create something that is already present as opposed to the short model role of where space is used to allow a generative model of creating new things (Peressut & Basso & Postiglione & Forino & Cullica, 2008).

Space syntax claims that can calculate the social use and occupation patterns on the basis of analytical techniques that are able to take design drawings as input. The theory delivers a sound impact to the advancement of contemporary architecture’s ability to grasp the problem of organizing complex communication processes and social institutions. Space syntax helps combat challenges along with organization that architecture faces (Schumacher, 2011).

Architectural aesthetics, form and composition are questions that are addressed by using morphological techniques that points the way forward. There are often protests about the restrictions of space syntax since it only offers 2D explanations of architectural occurrences where they are experienced as 3D realities (Hanson, 1998). Below figure demonstrates various spaces of interiors with the Space Syntax method.

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The initial study will be the classification techniques and preference lists, which is the quantitative evaluation part of this study.

Semantic rating scale and ordinal scales will be utilized where the rating will determine the like or dislike choices. Ordinal scale can help determine the classification of formal aesthetic elements according to the most affective and the less affective (Öztürk, 1987).

Final answer can be proven by discovering and classifying the preference lists according to the basis on the semantic rating scale as well as assess the semantic rating scale. Ordinal methods list helps determine and prove the final answer, which consist of classifying and determining the list of preferences according to the most impressive to the least impressive elements.

Some observation methods are going to prove the result of this study as well. Location and the effects of formal aesthetic elements are going to be emphasized according to the observation method. According to the formal aesthetic preference of users, which is one of the elements of formal aesthetic, some questions are going to be asked in detail of the selected elements that can support the observation part of this study.

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1.6 Limitation

Famagusta is a large town in North Cyrus (Second Largest) with a population of roughly around 46,000, which is located around a quay that is named after the city at the eastern coast of the island. The city is located at the center of the eastern edge of the coast which is named mesaira that divides that Northern portion of the island and connects Güzelyurt, which is another urban center located on the west side of Cyprus with Famagusta (Boğac, 2009).

Figure 2. Cyprus Map (Boğac, 2009)

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Figure 3. Locations of case study in North Cyprus (Boğac, 2009)

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Chapter 2 ARCHITECTURAL SPACE AND INTERIOR SPACE

A lot of scholars and critics on design write about the space of architecture assuming that it is completely abstract. They converse about ideas such as color, rhythm, proportion and form as they were only used by design critics and designers. The spaces that are divided and enclosed transform into refined art that is treasured by the educated connoisseur. It is probable to distinguish a mere building and architecture to be two separate entities. If such a distinction is assumed, the building can only be considered architecture once it has sufficient traits that resemble art as well (Lawson, 2001).

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Mass, Volume

In the planning of a visual building, a dimensional plane is what puts into perspective the boundaries of dimensions. The plane should be looked at as the main factor in architectural design if it deals with constructing 3D masses and space (Capon, 1999).

Volume

Variety in spaces is very important and forms such as spheres, cones and cubes add different forms to the space. Le Corbusier: “Architecture is the skilled, accurate and magnificent play of masses carried together in light… cubes, cones, sphere, cylinders or pyramids are great primary forms…they are beautiful forms, the most beautiful forms” (Capon, 1999) the differences between the space and volume is essential, if volume is the main tool of a sculptor, an architect uses space as his/her tool (Ching, 2007).

Figure 4. Kinds of Volume in architecture (Ching, 2007)

Today’s architecture can be understood much easier if it is put into a larger architectural context. To summarize briefly: 3 stages of development for architecture can be observed. 1st_{stage begins by incorporating interplay between volumes within}

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It is believed that carved out spaces with interior spaces are synonymous with architectural space. These principles are based on the last 2000 years over the course of the development of architecture. Architecture is so familiar that it takes a lot of skill in order to see it for what it really is (Giedion, 1982).

Reproducing the historical past is not sufficient enough to determine what is stylish today. It may be sensible to develop current activities against historical developments. We observe them with the beliefs that we were brought up with. With all the beliefs, there is a strong indication that architectural space is the same as hollowed out spaces with inner spaces. This belief comes from the changes made within the last 2000 years (Giedion, 1977).

Spatial themes encouraged by ideas beyond architecture are what we look forward to. Ideas are transformed into expressions with the help of architecture with identifiable stages in civilization. Architecture is not only existent by itself, instead, it is the moving force behind common changes in taste and thinking, as little as they may be. In very small cases, architectural space may be the moving force behind social change (Ching, 2007).

Figure 5. Different kinds of forms in architecture (Ching, 2007)

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infinite space, to a more or less contained space, or something in- between, neither endless nor contained” (Hertzberger, 2010).

A space is determined and is not infinite with materials that are housed inside it. Space is specifically constructed to either make a thing accessible or protect something. Function may be varied but nothing is made by mistake. Space can be referred to as “object like” whether it may be contradictory or not. In this sense, it can be referred to as a negative object (Hertzberger, 2010).

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Figure 6. Dimensions, configurations and openings in architecture (Ching, 2007)

2.1 Types of the space

Architecture puts limits on limitless boundaries and the way a space is utilized can symbolize the organization of said space. The different types of spaces are influenced by culture and time (eg. Public-private space and inner-outer spaces). Spaces in architecture are thought out processes which are not natural. Although such spaces can be created by nature with the help of natural phenomena, architectural spaces are very apparent (Kent, 1990).

There are different kinds of spaces which are: • Positive and negative spaces

• Personal spaces • Private spaces • Public spaces

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• Perceptual spaces (URL3)

2.1.1 Open Space

Gardens, community, streets, plazas and parks. The needs of people are expressed by what they look at doing in the open spaces. Function and basic level of support is provided by the needs in open spaces. The needs are the absolute must that has to be implemented in order to create the basis of design criteria and an enjoyable experience. These can vary from the need for active and passive engagement requirements. This simplified, basically means that the prerequisites may include a walking path or a place where users can enjoy their time by sitting and not being hassled (Francis. M, 2003).

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Figure 7. Open space in architecture (URL4)

2.1.2 Closed Space

Closed spaces are limited spaces that can be defined by the utilization of design elements. This can be achieved with the use of divisions and partitions, which sort out the inner spaces. A closed space is limited in terms of view, volume and borders (Strand, 1999).

Figure 8. Closed Spaces in architecture (Strand, 1999)

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spaces are supreme. If a sculptor molds clay, an architect works with closed space and models it (Vidler, 2001).

Interior space is another reference to a closed space, which provides a sense of security. The incorporation of the supply of relations with nature and exterior spaces with shelter coverings in the interior spaces (Tuncel, 2007). The primary element of interior design is the planar element. First of all, points are created followed by lines and both are combined to create the final object, which are the planar elements. The elements are not restricted to 2 dimensions but can be 3 dimensional (Ching, 1987). Ceilings, walls and floors are the most essential values for defining interior spaces. Architectural and structural elements are what the design of interior spaces are based on (Ching, 2005).

The biggest part of people’s lives are spent indoor such as restaurants, airplanes, trains, busses, schools, offices, factories, shops, houses or apartments. Spending time outside is only temporary. If these are taken into account, it is apparent that people are conducting most of their activities indoors (Pile, 2005).

Interior spaces are not only physical to humans but they can attach emotions to them. People’s mood surrounds the interior spaces and the interior spaces affect the types of major activities performed in the interior environment (Wahl & Scheidt & Windley, 2003).

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requirements and the relationship (Wahl & Scheidt & Windley, 2003). This study will focus mostly on the closed spaces.

2.2 Functional Space

Design is all around us. We eat in places, which are designed, we play in them and we especially live in them. Although design is all around us, only a few get the privilege to design something. Happiness of people, the circumstances to relax, and health and work efficiency are structured around the interior spaces and whoever designs them. This is not only relevant for buildings, but also the equipment that we use (Grillo, 1975).

Design can be restricted to form and function as well as looking at the purpose, needs, ideologies and the implications of form. By grasping the function of form, designers can grasp the idea of how users are connected to one another in the environment (Bowers, 1999).

Forms have secondary and primary functions. Some forms make the functions rather obvious like the mechanical function of dividing piece of wood. In a 2D form, function can be more abstract and difficult to define (Bowers, 1999).

Form follows form is a saying that the quality of the space being built is a direct influence to the interior space. Form follows function means that first and foremost, the functionality of a space is prioritized and the form is influenced accordingly. (Brooker & Stone, 2007).

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also a major player in 2D designs where function is identical with purpose, with a form’s intent (Bowers, 1999).

The role of a functional space is the importance it provides to rational and simple solutions that design problems have without the need for unnecessary decoration (Ballast, 2013).

This can be viewed by the 20th_{century modernism where there was an exponential}

growth of English arts and Crafts. Bauhaus School of Design is where modernism was developed and had grown, new upcoming technology was used to functionalize space create architecture and machine life objects. Interior design was minimalized into only what was absolutely necessary to fit the need of the function with no decorations (Ballast, 2013).

The most critical component of a great design is the functionality that provides all the needs and supports the lifestyle of the people living in it. a useful space without functionality does not make it a great design (Lamie, 2011).

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Function is what people call personal use, cultural, spiritual and practical form. Function is a part of 3-D designs for many different jobs, but can play a very critical role in 2-D designs as well in cases where function is identical to the form and purpose. For example, the AIDS symbol has the primary function of serving as an identifiable marking for an event (Bowers, 1999).

Even though functional requirements of a user must always be met in interior design, people require more than functionality therefore, the functionalism of an interior space must only be one aspect to a larger overview of a design (Ballast, 2013).

In Residential houses, each part of interiors has their own specific functions, these main functions can be:

- Kitchen - Dining room - Living room - Bedroom - Bathroom - Balcony

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2.2.1 Living room

Most standard houses contain the living room as the center of their house so the shape, size, décor, locations and its function is vital and in most cases, affects the look of the whole home. Closed plan living rooms have been put into the backburner in recent years due to the fact that the popularity of great rooms in open plans (Helper & Wallach, 2012).

In most cases, the location of the living room is adjacent to the entrance door so that guests who come into a house will not have to pass through the house, which can sometimes be intrusive. Although it should be located close to the entrance, it should also be located in such a way that there won’t be a need to pass through it in order to access the rest of the dwelling. Most designers tend to locate the living room a few steps under the balance of the house. Figure below demonstrates how to improve partitioning and to stop through traffic energy efficiency is an important factor when locating rooms. (Jefferis, & Madsen, 2005).

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The designer designs living area by first and foremost finding out the functions of the rooms according to the dwellers needs. The key design room is the living room due to the multifunction purpose of the room. The living room can be a dining room, social room, a library or an entertainment center. The function solely depends on the living habits of the residents so it should be designed according to the activities that will take place inside it (Helper & Wallach, 2012).

Figure 10. Living room, Casa Panama, By Sao Paulo, Brazil (Crafti, 2013)

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Figure 11. Living room (Crosbie, 2008)

Living room should be close to the entrance (Adjacent) and be centrally located. In small homes, it is acceptable for the entrance of the home to be facing the living room. This arrangement is however not optimal and if possible, should be avoided. If the living room is the only way to get to the other rooms, it generally implies that it is a poor design because such traffic could disturb the guests (Helper & Wallach, 2012).

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An important attention must be paid to the placement of the living room in relation to other rooms and its surroundings. It should be oriented in such a way to effectively make use of the sun and have the best view. The living room is generally used during the evening or the afternoon so the suns position should be facing the Southwest direction (Helper & Wallach 2012).

Figure 13. Windows Assembly designed to maximize the natural lighting (Helper & Wallach 2012)

The function of the living room changes according to the size of the dwelling as well as the preference of its occupants. An important consideration should be paid to the plan of the living room in order to incorporate how the room will be used, the type of furniture that it will have as well as how often it will be used (Jeffris & Madsen, 2005).

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will be. Such actions are critical to turning a boring space into a personal one. Although the living space may be the most public one, it still must reflect personal style so a user can feel comfortable. (Mee, 2005).

The living room could be used for noisy activities whereas some living rooms may be used for quiet activities. In dwellings that should plea to a wider array of activities, the formal living room should be considered as a multifunctioning room. If a house has both a family room and a living room, then the living room is usually the one where guests are entertained or where quiet activities are held. If the home has no family room, the living room will also need to provide room for recreation, hobbies and relaxation (Jefferis & Madsen, 2005).

The designer first and foremost needs to determine the reasons on how the living rooms will be used by the occupants. It is the key room in the design process because of the fact that it serves many purposes (Helper & Wallach, 2012).

Location of living room

Living room should be close to the entrance (Adjacent) and be centrally located. In small homes, it is acceptable for the entrance of the home to be facing the living room. This arrangement is however not optimal and if possible, should be avoided. If the living room is the only way to get to the other rooms, it generally implies that it is a poor design because such traffic could disturb the guests (Helper & Wallach, 2012).

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traced back to just after the World War II where families were encouraged to grow. Such reproduction patterns are not non-existent in normal families which leads to the conclusion that family rooms may no longer be as important as they once were in a few decades. Several basic rules about its location should be applied and adhered to (Harrison, 1998).

Orientation

Orientation of the living room should be pointed towards the best looking view and take full advantage of the sun. It is desirable to point the room towards the southwest sky to receive the afternoon sun from that direction, as the room will be used mainly in the evening and the afternoon (Helper & Wallach, 2012).

Decor of living room

Taste, habits and personality of the occupant usually is the dependent factor in the general décor of the living room. Floor, window, ceiling and walls should be clean if the taste is contemporary with smooth lines, which are often present with contemporary architecture. If another style such as a colonial one is preferred by the occupant that should be the theme of the décor. The room can be inviting if the selection of ceiling colors, floor coverings and walls are tasteful and effective lighting is implemented. A great selection of fitting furniture contributes to the beauty of the living room as well as its comfort (Helper & Wallach, 2012).

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image is portrayed within living room and that image portrays the residents of that space. (Marsden, 2005).

Walls

Wall coverings are not the only factor that affects the appearance of walls. The implementation and the design of built in furniture, chimneys, fireplaces, windows and doors will change the room’s appearance and should be integrated into the room. The designer with a combination of wall-coverings considers these features. Glass, paper, plastics, tile, stone, brick, wood paneling, wallboard, gypsum, and plaster are some of the material used for walls (Helper & Wallach, 2012).

Load-bearing or nonload-bearing partitions can be used as interior walls. Such walls consider the floor plan of the house. Studs from the floor to the ceiling are used for the partitioning frames. In most cases, no insulation is used but certain building codes must be met according to the rules and regulations. By analyzing the building blueprint, an appraiser can determine whether these requirements are being met (Appraisal Institute (U.S.), 1994).

Windows

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Floors

It is ideal for the floor of the living room to mix with the color scheme overall style and the texture of the living room and reinforce it. Some materials such as polished flagstone, throw rugs, wall-to-wall carpeting, room-size carpeting and hardwood flooring can be used in the living room (Helper & Wallach, 2012).

Fireplaces

A fireplace is a very luxurious choice in adobe homes. Sometimes fireplaces are placed at the end of a living room or sometimes they are placed in all rooms depending on taste. (Newcomb, 1980).

Fireplace obviously functions to provide heat to the room. It can also function as a main decorative feature or as a partition. A chimney structure and the fireplace can cover the entire length of a wall, which becomes the focal point in the living room. A freestanding fireplace can partition rooms if the living room is an open floor plan. It is important for a fireplace to fit the design of the overall room (Helper & Wallach, 2012).

There are numerous different fireplaces to choose from but only the major ones will be listed below. Fireplaces that can be placed flush against the wall are referred to as wall fireplaces. Such fireplaces can occupy the whole wall or only a small part of it. (Newcomb, 1980).

Ventilation

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reserved for ventilation. It is important for a living room to have adequate ventilation if there is a fireplace present for both fresh air circulation and proper draw. A door is considered to be a part of the cross-ventilation of system because that also provides circulation (Harrison, 1998).

Occupants that have artificial warming ventilation systems in living rooms noted that it was often very dry compared to occupants without artificial ventilation systems. (Mlecnik, 2013).

Conversation area

A conversation area ideally consists of a 10foot radius. Furniture should be closely grouped according to the measurements stated above. This is an optimal radius where people are most comfortable conversing in small groups with each other whether it be a small or a large room. “Within the 10-foot-diameter circle, they can see each other easily and communicate comfortably without shouting” (Harrison, 1998).

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2.3 Interior Space

Space planning is the pinnacle of decorating and interior design a series of action which is a sound basis for setting up actions that come at later stages. Residential interior space planning involves wants, needs and the lifestyle of people who reside in the place, which is a professional skill. Trends and or any kind of disability calls for even greater details that are involved with the organization of spaces within the interiors of the particular place (Lamie, 2011).

A huge challenge that has always been dominant is creating warm conditions in winter, or vice versa as well as keeping a comfortable living environment. In the past, creating fires, storing ice or seeking shelter combated such conditions. Such approaches require excreting heavy loads of energy, which were labor intensive, which did not guarantee desirable living conditions. Nowadays, due to the advances, it takes less and less labor to provide adequate living conditions for people (Chen, 2003).

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It is imperative to have a sound comprehension about the principle of design and the elements in order to construct an effective design. Successful designs exhibit important ideas about design principles and design elements. Such important principles can be used in many different design fields including interior design (Lamie, 2011).

Interior Space Design (ISD) is one of the most successful and the most recognized planning organizations. Individuals are encouraged to position personal accessories, equipment or furniture in any way they feel in an interior space.

The mess that is created is quiet normal and civilized, which cannot be said about the projects that are done by offices (John, 2005).

Figure 17. Michael Hue Williams

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Housing has become the leading branch that transforms and identifies people’s characters in the field of architecture design. In the past, modern movement theory, which was the leading concept of the movement, which is referred to as “Architectural Determinism”, speculated critical revelations of the notion and how it is now. Such ideas only looked at the physical side of housing but ignored the psychological, cultural and social desires of humans (Sari, 2012).

Discussions that are brought up in the recent times regarding housing developments are mostly focused around the disputes of how a house becomes a home. There are many influences that affect this change but symbolic expression is and has always been linked to aesthetics and its theories (Sari, 2012).

Since the 1920’s, housing was looked at as one of its major accomplishments. Many architects focused on the issue with the emphasis on the significance of the issue. As Geidion (1929) mentioned the current progress in buildings largely aim to focus on buildings which are for the common public (Schulz, 2000).

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There is no running from interior design, it is everywhere and can be found in all aspects of life such as vehicles, hospitals, schools, restaurants, store, offices and relatives and friends homes. The requirements of interior spaces have obviously changed over time compared to the old times. Different lifestyles such as a lady in a mansion, a monk in a monastery, a king in a castle have all been influenced by different factors. (Pile, 2005).

“The interior can become part of the place; it can assemble meaning and also give value and consequence to a situation perhaps only installation art and architecture both subjects that interior are closely related to, are so closely associated with their individual location”(Brooker & Stone, 2010).

Interior design is considered to be artistic within rooms or spaces that introduce a unique personality that fits well into the current architecture. Interior decoration deals with materials, lighting, furnishing, soft, furniture, ornament, patter, and surface issues. It deals with very small structural changes within the building. Some positive examples are restaurant interior, hotel and domestic designs (Brooker & Stone, 2010).

2.3.1 Interior Space Elements

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Plane

Plane is perhaps the most crucial component in interior architecture. Ceiling, walls and floors are used in the 2D forms to enclose an area and define the space within it. Smaller planar components contribute stairs, doors and various interior elements such as furniture and shelves. Plane becomes the area where color, texture and material are carried with an addition of lightning values and acoustic controls (Coles & House, 2007).

Plane is known as a long line, which contains length and width properties. It also contains position, orientation and shape properties as well. If looking at different ways to realize a plane we can start off with a simple model in which two parallel lines visually from a plane (Wiberg, 2011).

Figure 18. Plane in interior design. Thomas Cook, Accoladia, view of restaurant at office fit-out, Location: Peterborough, UK. Separation of activities and the use of plane elements are applied in the Thomas Cook Holidays restaurant. The perlorations

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As described by Ching (2007) a transparent spatial membrane can be stretched between them to acknowledge their visual relationship. The further the lines are, the weaker the sense of plane will be. If taking this example one step further, then a series of parallel lines, through their repetitiveness, reinforces our perception of the plane they describe. Such a notion leads us to believe that a sequence of planes will be considered as a whole and not separate entities. (Wiberg, 2011).

Scale

Scale is a term with 2 meanings for designers. First and foremost, it contains a technique for reducing the size of the buildings that can fit onto paper that is to be used. In order to achieve it, every part of the building to be drawn must be reduced according to a relative ratio. Different ratios are used for different size things. For example, is something large is being drawn, a 1:500 or a 1:200 ratio can be utilized which means that whatever is being reduced is done so by one five hundredth and one two hundredth respectively. Smaller drawings can be left at their original size or reduced a small amount like 1:5. 1:50 and 1:100 scales can be employed between the two extremes (Coles & House, 2007).

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Figure 19. Scale in Architecture Villa Arena Furniture Shopping Mall. Location: Amsterdam, Netherlands. “The atrium shown allows natural light to filter down into

the circulation areas of this large shopping complex” (Coles & House, 2007).

Proportion

Proportion is achieved through geometry and it is a mathematical concept. It is considered to be a gate to the sciences as well as an opening to the world of art. (Colman, 2003).

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Golden Section

If the line is divided with a ratio of 8:13, this generates a state where the relationship of the height and the width is almost the same to the relation of the height of the whole. The proportion has been used since the ancient times. The ratio resembles the Fibonacci sequence. Shapes defined by the golden section have been used for hundreds of years. The design and the use of the sequence dates back a long time and can be observed in the Greek temples, Egyptian pyramids as well as the Renaissance. This proportion is still being employed in today’s design and architecture (Coles & House, 2007).

Figure 20. Application of Golden section (Joseph & Thomas Windmills Ltd) (URL5)

Vista

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Figure 21. Vista in Interior Design. Hampstead House, dining area. Location: London, UK. Dining room in the building is in Hampstead that’s linked to other

environments (the adjacent room). Such an arrangement creates the feeling of a larger space and never limits its size (Wealleans, 2006).

Movement

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Figure 22. Movement in interior architecture

(Convexities House was designed by Antonino Cardillo in Spain and was inspired by Flamenco dance) Antonio Cardillo says, “If architecture is music in stone can its “limbs” dance? Architecture only remains still in pictures. In real life its natural state

is one of transition. Both man and light move within it." (URL6)

When an architect and interior designer collaborates, it is a harmonized system where they balance and check each other. A designer is handed a plan and they analyze the plan to check if all wall dimensions, window openings and door openings are balanced. They determine the movement ease through the spaces and if the spaces are well lit. (Sheridan, 2008).

Transition

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Figure 23. Transition in interior architecture, MBAM (Marble Bar Assets Management) trading floor, view of corridor. Location: London, UK. Transient

environment operate on the threshold between spaces. Corridors contain such characteristics and connect different spaces together within an interior. Corridors play a crucial role in the outline of a building even though they may be looked at as

secondary spaces (Coles & House, 2007).

A lot has been discussed about the importance of main entry points of a domestic housing in terms of stipulating an emblematic transition space between private quarters and public quarters. Writing in a philosophy of interior design, Stanley Abercrombie states, “In our own culture, rather than plunge directly into the heart of an interior, into its living room full of conversation…we prefer some transitional area”. He also writes that entrances are “a physical transition point, obviously, and also a mental one, the entrant bringing into the interior memories of the exterior…” (Lauer & Pentak, 2008).

Accessibility

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young, disabled and the elderly who cannot operate or use stairs, heavy doors and narrow openings which hinders their ability to use these spaces (Coles & House, 2007).

2.3.2 Interior Space and Aesthetic

An element of apparent understanding and intuition of when ‘something looks or feels right’ often influence the visual selections in interior design. Such an intuition is a sensory response and it may very well be a sign that fundamental anthropological needs are linked with tactile, visual and acoustic stimuli (Edwards, 2011).

Interior means not the outside world, not exterior. A crucial part of interior spaces is aesthetics. Simple integral design in interior spaces is what aesthetics is added to or onto. Interior space contains aesthetics to introduce a pleasing design into the space, unlike intellectual manner (Moore, 2012).

The part of an interior designers responsibilities are to practice their understanding and skills of the visual world to determine arrangements that blend through shadow, light, form, texture and color (Edwards, 2011).

Shadow, light, texture, color and form are some of the things that are blended together to create interior design with an aesthetic composition where each and every single aspect considers the functionality of the space according to what activities will be ongoing in it as well as reflecting the mood and personalities of the occupants (Moore, 2012).

2.4 Space Organization

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arrangements and there are some ways to define such strong ways of transforming spaces as shown below.

The career of design contains many ways to describe geometry and form.

Architects are regularly more familiar with portrayals of activity and relationship that bring about artifacts or forms inside discussions that support the designation of site as a solitary element. People tend to agree with nouns as opposed to verbs (Easterling, 1999).

Intuitive design principals are utilized by interior designers. Design elements are considered when selecting furniture (Such as scale, form, size). The word “Form” is how an object is shaped. Furnishings are selected according to scale to fit the desired space and match other furnishings around it. (Brown, 2002).

Efficiency is an expression connected to practically everything designed to be utilized, such as a dishwasher, a space or even a car. Absence of an efficient organization for the interiors of homes opens a gateway to nonfunctional spaces and chaos. The existing design or the organization cannot achieve the characterized function of space (Easterling, 1999).

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When architects and designers collaborate at the start of a project, the interiors are designed from two points of view. Although balance, scale, and proportion in the interior space are paramount issues for both, the architect focuses on the organization of space and the interior designer on the management of space. A space is observed with a different concept thus incorporating all points of view creating harmony and balance. (Sheridan, 2008).

If the principles of space planning is the only way to assure the most functional and efficient interior space including the smallest drawers all the way up to the biggest rooms available. Space organization is a solid basis and a critical part of decorating and interior design which will help all the other activities that are performed at later stages (Easterling, 1999).

The utilization and the organization of different kinds of spaces are reflected in communities across all cultures due to the relativity between them (Washburn, 1983).

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2.4.1 Kinds of Space Organization in Interior Architecture

Interior architecture takes into consideration the examination and the knowledge of existing spaces and buildings, a deep understanding of the personalities of interior decoration and the qualities of the space. Form and Structure unveils the motion of redesigning and organizing spaces and will de-construct the practice into more manageable parts paying close attention to the problems associated with form and structure (Stone, 2007).

Figure 24. Space Organization in Living Room. (URL7)

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There are five kinds of space organization, which are:

- Centralized Organization - Linear Organization

- Radial Organization

- Clustered Organization

- Grid Organization (Ching, 2007).

Centralized organization

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Figure 25. Centralized Organization (Meiss, 1997)

Linear organization

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Figure 26. Linear Organization (Ching, 2007)

“A linear array organization can be viewed as linear organizations developed in two different directions.” A linear array organization houses spaces that are almost identical in both form and size. Such spaces can be modified to vary the design and form. Such additions or subtractions can be changed to fit the needs of the project or the environment. In order to house a feature or insert a special interest, the linear organization can be interrupted (Chen, 2011).

Radial organization

This kind of an organization mixes both the linear and the centralized organization together to form linear organizations around a centralized space discharging outwards. A centralized organization

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organization only inspires an inward movement. The focus is not only centralized but also is radiated at the linear organization attached to it (Chen, 2011).

Figure 27. Radial Organization. (URL8)

Clustered organization

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Table 1. Types of Clustered Organization (Goerge, 1999)

The distance of the spaces what a clustered organization relies on. Spaces can either be varying forms or sizes or be the same form and size. This allows for more flexibility if compared with the rest of the organizations. Emphasis can be achieved by creating it in a special location, the orientation, form and a large size (Chen, 2011).

Grid organization

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grid is moved or changed, the visual aspect of the grid can be modified. The uniform pattern can be altered with a large space to bring out the features of the site. This also holds true for when portions of the pattern are moved, broken off and rotated to create other forms (Goerge, 1999).

Figure 28. Grid Organization (Goerge, 1999)

2.4.2 Space Organization in Housing

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Number of rooms and their shapes is what the space organization of the room is based on and the usual components of space organization can include furniture which creates social interaction places and the circulation (Mira, 2005).

Culture of humans includes symbolic representations, attitudes, values and the norms. Space organization of people can determine their position within a specific group, their relationship and their social statuses, which is manifested by culture. Social and cultural schemes are supported within the spaces which means that humans interact with one and other within the specified areas that are meant for such activities because that’s how they have been defined. “Social and physical spaces are two dimensions of the same system and there is both continuity and change in these dimensions over time”. People transform, develop and divide the space into different forms and claim it as their own, they are not only attached to it. They live in spaces that they create, claim and design (Low & Lawrence, 2003).

2.5 Perception of Space

The perception of space has been central to the analysis of perception in the 20th

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As Alan noted the act of visual compensation or seeing is a function that is carried out by the human eyes who can decipher the blur of light coming into the retina by referencing them to the blurs of light that humans have already experienced in the past. There is a choice to be made which is the amount of concentration that is put into the detail that they perceive. (Holgate, 1992).

Vision is a crucial part of how people orient their movements because it provides the most apparent and thorough information to the brain about events, spatial layout and about objects. The development of space and motion perception has focused largely on the vision as a primary factor. Kinematic perception, spatial perceptions intermodal perceptions and auditory space perceptions are beyond the scope of this chapter. Important aspects of spatial and kinematic perception involving auditory space perception, vestibular influences, and intermodal perception are beyond our scope in this chapter (Epstein & Rogers, 1995).

2.5.1 Perception of Distance

Investigation of formal aesthetic elements in living spaces